A. Doric cap Aegina “Nieu Temple” Fürtwangler’s restoration.B. Typical Doric treatment of pilasters or piers.C. Capital of the Erectheum, gold, red and blue.D. Corinthian cap in terra cotta from Olympia.

PLATE V

THE coloring of the various types ofGreek capital is a subject worthy ofgreater elaboration than our space

permits. Typical examples of the threeorders have been selected to demonstratethe general principles of color location. Inthe Doric capital color figures to the min-imum extent, despite the fact that it con-stitutes so prominent a feature in authen-ticated restorations of edifices designedafter that manner. Theoretically, this is tobe expected, and is consistent with theobservation that the presence of colordepreciates the appearance of structuralstrength; the stalwart character realized inthe columns of this order would necessar-ily have been diminished had polychromeenrichment of a more elaborate characterbeen developed. Archaeolog-ical researchrecords red to have been the only colorused on the echinas; where there is repeti-tion of the channeling in certain exam-ples, at the top of the shaft, a similar colortreatment was adopted, as is shown in

Diag. A (Plate V.); this constitutes themaximum extent of color decoration inthe majority of instances. As the piers (B)have a lesser structural significance,greater color elaboration was permissible;our illustration is a typical example takenfrom the Temple of Zeus, Olympia: thepiers of the Parthenon were treated inmuch the same manner. (See Collignon.)

Our illustration of the Erectheum capi-tal is rendered after the restoration of Dr.Josef Durm, which shows the Ionic capitalin all its magnificence. The coloredvolutes were treated after two fashions; incertain examples (e.g. Temple of ApolloEpicurus) a full torus forms the outeredge; this developed a wide range of tonesin the red decorating it; its sharp shadowprojection accentuated the brilliancy ofthe color. In the Erectheum capital asharp angled channel replaces the torus,which, from the point of view of colordevelopment, is vastly superior. As thevolute turns, the color upon the planes

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1. POLYCHROME GARGOYLE, OLYMPIA.

which form the inner and outer faces ofthis incision, changes in strength, fromthe deepest tones possible under the cir-cumstances of illumination, to the light-est. The color on the plane inclined fromthe light at the top of the cap starts inshadow; by the subtlest tone gradation,the deep tone gradually progresses to itsmaximum purity, as this plane becomesinclined to the light. The two planesforming the channel produce tone con-trasts throughout the greater part of thevolute, by reason of the difference in theirangles to the sun’s rays. The eye of thevolute is supposed to have been gilt in themajority of cases.

The Corinthian cap in our illustrationwas exhumed at Olympia in comparative-ly good preservation. It is difficult to finddata upon this subject, and this example isof particular interest, inasmuch as itdemonstrates the application of the deco-rative principles of color alternation, andcolor separation. The foliated husk of theangle volutes and the lower tier of leavesare painted blue; the centre tier is paintedyellow;* the yellow is also carried into the

centre of the rosette, and on the stems ofthe lower leaf tier, realizing, as nearly asthe motif permits, the appearance of alter-nating color. Unity in color effect isachieved by the method of separatingbright colors with a fillet of another color,red serving this purpose in its outlining ofthe detail. This well-balanced distributionof red contributes much to the stabilizingof effect.

THE COLORING OF THE ROOF

Owing to the great variety in roofdesigns it would be as difficult to general-ize in treatment of this feature as it isupon the coloring of the capitals, were itnot for the rigid adherence of the Greeksto fundamental aesthetic principles. Colorelaboration and ornamental ingenuitywere lavished upon the essentially decora-tive features. Polychrome and single colordesigns were developed upon the ridgetiles frequently adorned with antifixae;the cornice antifixae; the akroteria, andthe vertical edge of the lowest row of rooftiles; when the latter projected beyond theface of the structure, the under side alsowas ornamented. The tiles of semicircularor rectangular section which bridged overthe joints of the pantiles were occasional-

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2. POLYCHROME CORNICE TREATMENT.

*This yellow may have been a substitute for gold,as was the case in certain pediment sculptures; it isnot improbable that these parts were subsequentlygilt.

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ly treated with simple ornamentation. Agreat variety of decorative roof-tile isreproduced in Dachterrakotten ausCampanien, by H. Koch.

THE COLORING OF THE CORNICE

The treatment of the cornice in poly-chrome is one of the most difficult prob-lems encountered in the planning of colorfor architectural effect. The designs devel-oped upon each item must naturally beindividually effective. By reason of thecontiguity of the architectural members tobe similarly treated, the design upon eachmust possess the quality of contrast, butmust be devoid of competitive interest.The architectural integrity of each mem-ber must be preserved in decoration; thatis to say, decorative values, or color valueswhich have a mutual affinity, must notoccur upon adjacent members. Finally,when viewed in mass, these varied design

elements must constitute an entity ofeffect.

No better example could probably befound, embodying these complex designrequirements, than the terra-cotta corniceof the Treasury of Gela. Great brilliancyin effect, combined with subtle colorquality, is achieved by a very skillful useof two colors only—red and black, upon abuff terra-cotta ground. Despite the virilestrength of each of these superimposedbands of ornamentation, no confusion issensed architecturally. This is due to theskill with which distinct design and colorvalues are established upon each architec-tural unit. With the aim of keeping eachmolding distinct from its neighbor, ourfirst impulse in design would probably beto vary the scale of proportion of detailupon each. This simple solution wasdeliberately avoided by the designer ofthis cornice. We find the broad lines

380

4. DETAIL, POLYCHROME ROOF TILES.

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5. POLYCHROME CORNICES FROM SELINOUS.

which figure so prominently in each ofthe superimposed details to be of uniformwidth, and realize how important a factorthis becomes in the ultimate unificationof the grouped designs.

The proportionate use of the red andblack is manipulated most skillfully, withthe purpose of preserving the identity ofeach architectural unit. This is achieved inthe simplest manner. The detail of theguilloche decorating the frieze is almostentirely in black, the minimum amount ofred being introduced only upon the threesmall petals which occur at the interlacingof the bands. In the rectangular patternabove the guilloche, red prevails, blackbeing used as a strongly contrasting note.Above this decoration, we find a design socontrived that red and black are employedin alternation in equal proportions.

Surmounting this group ofpatterns, the black fret is used,unrelieved by red, the obviouspurpose being to create a bor-der of sufficient strength towithstand the strong lightagainst which it is placed. Themanner in which the tori,which separate these varieddesigns, are decorated, is wellworthy of study; no moreeffective or simple treatmentcould have been devised thanthese bands, chevrons, and spi-rals.

In Temple C. of Selinous acorresponding quality is real-ized; this, unfortunately, doesnot show in our illustration,which was taken from a colorplate, the black and red havingphotographed the same tone.In this example the leaves dec-orating the cyma are treated incolor alternation after themanner of Diag. E, Plate III.Refer to Parts I and II for illus-trations showing cornice treat-ments of other types.

COLORED ORNAMENTATION......UPON MOLDINGS

The following is a description of thecolor treatment of the ten examples illus-trated:

No. 1. Cyma. Pointed black leaves upona red ground decorate the upper member;these colors are separated by a white line.The principal motif is silhouetted inwhite upon a black ground; the husks ofthe anthemia and the bands connectingthe scrolls are enlivened with red. The fretis red upon a black ground: the squaremotif is black and white.

No. 2. Cyma. Upper member; blackleaves upon a red ground; outline and budin white. Principal motif white on black;red outlines the husk of the central pal-mette in our illustration, and also outlinesthe centre of the other palmette. Fret, redon black; a red outline frames the squaremotif, which is in black and white.

THE ARCHITECTURAL RECORD

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6. POLYCHROME CORNICE DECORATION.

No. 3. Cyma. Black ornamentationupon a red ground.

No. 4. Cyma. A black fret decorates thetopmost fascia. The leaves below the fretare treated with red and black in alterna-tion; the lines separating the leaves areblack and theground buff. Torus;Chevrons in red andblack alternately,upon a buff ground.Scrolls and flowerpetals; red and blackin alternation.Fascia; black chev-rons on buff. Leafdecoration on lowestmember, red andblack alternately.

No. 5. Cyma. Redand black arearranged in alterna-tion upon the leavesand palmettes;ground, buff orochre.

No. 6. Frieze. Theground color of thismolding is a terra-cotta buff. Tori; bands of red and deepmulberry in alternation in the horizontaldirection, but not in the vertical. Scrolls,mulberry, with floral motif outlined inred. Red and mulberry on the two lowerTori in complete alternation.

No. 7. Cyma. Practically a replica of thecolor planning in No. 1.

No. 8. Cyma. As No. 1.No. 9. Triglyph molding. (a) Dark blue.

(b) “Eggs” light blue and yellow, blackused to indicate the upper fullness of theeggs. (c) Fret, red and blue; frame ofsquare motif yellow, chequers in centre ofsquare light blue and black. (d) Light blueand white upon a red ground. (e) Darkblue.

No. 10. Triglyph molding. (a) Lightblue. (b) White leaves, blue centre line;inner outline of leaf red; dart, red; groundblue. (c) Dark mulberry. (d) Fret, red andwhite; frame of square motif yellow, che-quers black and white. (e) Dark mulberry.

ANTIFIXAEThere is an enormous variety of inter-

pretations of this detail. In Part III a fewexamples are reproduced of the simplertype, in which two colors are used inalternation upon the palmettes. The full-

page illustrationshowing a varietyof subjects, repre-sents onIy a frac-tional part of thedata which is avail-able, and barelygives an impressionof the latitude thatthe Greeks allowedthemselves in de-sign. Many of thesehave been takenfrom Van Buren’sFigurative Terra-Cottas: a great vari-ety can be seen inthe H. Koch’sD a c h t e r r a k o t t e nAus Campanien.Where the humanhead forms themotif, the follow-

ing general formula for color treatment isfollowed: Hair and brows, black. Eyes;white eyeballs, red iris, black pupil.Eyelids; outlined in black. Lips, and oftenthe cheeks, red. Yellow is used for certainaccessory detail in some examples, e.g.,berries or flowers. The earrings and jewel-ry on female heads are touched with color.When a shell crowns the head, the flutingor ornamentation decorating it is paintedin alternating colors upon repeatingdetail. Though many examples can be seenwhich deviate from the above in minordetails, this description of color locationand treatment will be found to apply tothe majority. The practice of outlininglips and eyes is general; the beard treat-ment shown in the top right and left illus-trations is frequently practiced. The whitelines drawn across the modelling are asimple means for rendering the wavinessof the hair. Relative tone values have beenreestablished in these cuts.

384

8. TRIGLYPH MOLDINGS.

THE ARCHITECTURAL RECORD

385

9. POLYCHROME ANTEFIXÆ

THE AKROTERIONComparatively re-

cent discoveries byarchaeologists revealto some extent thedegree to which theGreeks regarded thedesigning of thisitem as an opportu-nity for imaginativeeffort. The symmet-rical designs, such asthose found atAegina and Olym-pia, represent onlyone phase of treat-ment. The beautifulakroterion of Eosand Kephalos comes,in all probability,from a large temple,as it measures m. o.98 in height. Van Buren describes its col-oring as follows: EOS; hair, brownishblack; chiton, cream with a dark border;earrings and diadem, dark red withdesigns in cream and black. KEPHALOS;flesh, red; hair, brows and eyes, black. Theground is blue. The spirals on the reverse

side are red andblack upon a creamground.

HORSE. This is afragment from thelower part of anakroterion group.Head and neck,cream; mane, red;small feathers uponthe shoulder of thewings, red outlinedin cream; long wingfeathers, inner rowblack and creamalternately; outerrows cream and redalternately; torus,black imbricationswith a double out-line in cream.

WARRIORS. Thedetail is intricately colored is black, redand cream.

With subjects of this character it isobviously impossible to generalize, butfrom the above description a fair impres-sion of color effect may be gathered.

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10. POLYCHROME AKROTERION FRAGMENT.BASE DETAIL OF GROUP.

FRAGMENT OF POLYCHROME AKROTERION POLYCHROME AKROTERION OF LARGETEMPLE—HEIGHT M. O. 98.

( To be continued )